Tink Thompson's Timing Terror

[x]

I received a copy of Last Second in Dallas over the
weekend and have been slowly working my way through.
Because I've been interested in the Dictabelt evidence
for some time, I skipped ahead to look at Tink's
chapters on the acoustics. So far, one particular item
stands out: Figure 23-6 "Timelines: Simulcast and Five
Crosstalks."

What stuns me is that Thompson tries to argue that the
two channels should be synchronized on the "Fisher
crosstalk," the data argues anything but. Tink would
have us believe that Channel 2 gains about 90 seconds
on Channel 1 between the putative "I'll check it" and
"Hold everything...", then slowly loses those 90 seconds
by the 12:36 "Attention all units" simulcast. However,
thanks to a stuck microphone, Channel 1 is running
continuously, while Channel two is only intermittently
recording. Give this state of affairs, channel two can
only be losing time against channel one, never gaining.
Thompson's attempt to sync can't work the way that he
wants to believe. Maybe Mike O'Dell has some more insight
into this.

BTW, Does anyone know who Patrolman EG Sabastian was,
and what he did on November 22, 1963. I ask this
because I've been listening to a copy of the dictabelt
recording and noticed an interesting coincidence. The
stuck microphone episode begins exactly at the end of
Sabastian's 12:28 "75 clear" transmission, and ends
abruptly at the end of when Sabastian's "75 code 5"
transmission at 12:34. I figure that microphone
switches don't randomly turn themselves on and off,
but that the open mic began when someone hit the switch
to make a transmission. At the end of the transmission,
either the user inadvertently failed to release the
switch or it stayed stuck stuck in the transmit position
It be liable to stay that way until the offending user
made another transmission and managed to turn the thing
back off. The surprising coincidence of Sabastian's
transmissions at the head and tail of the open mic
transmission is intriguing. Maybe not proof, but
very intriguing nonetheless.

[19efppp]

Post by x
I received a copy of Last Second in Dallas over the
weekend and have been slowly working my way through.
Because I've been interested in the Dictabelt evidence
for some time, I skipped ahead to look at Tink's
chapters on the acoustics. So far, one particular item
stands out: Figure 23-6 "Timelines: Simulcast and Five
Crosstalks."
What stuns me is that Thompson tries to argue that the
two channels should be synchronized on the "Fisher
crosstalk," the data argues anything but. Tink would
have us believe that Channel 2 gains about 90 seconds
on Channel 1 between the putative "I'll check it" and
"Hold everything...", then slowly loses those 90 seconds
by the 12:36 "Attention all units" simulcast. However,
thanks to a stuck microphone, Channel 1 is running
continuously, while Channel two is only intermittently
recording. Give this state of affairs, channel two can
only be losing time against channel one, never gaining.
Thompson's attempt to sync can't work the way that he
wants to believe. Maybe Mike O'Dell has some more insight
into this.
BTW, Does anyone know who Patrolman EG Sabastian was,
and what he did on November 22, 1963. I ask this
because I've been listening to a copy of the dictabelt
recording and noticed an interesting coincidence. The
stuck microphone episode begins exactly at the end of
Sabastian's 12:28 "75 clear" transmission, and ends
abruptly at the end of when Sabastian's "75 code 5"
transmission at 12:34. I figure that microphone
switches don't randomly turn themselves on and off,
but that the open mic began when someone hit the switch
to make a transmission. At the end of the transmission,
either the user inadvertently failed to release the
switch or it stayed stuck stuck in the transmit position
It be liable to stay that way until the offending user
made another transmission and managed to turn the thing
back off. The surprising coincidence of Sabastian's
transmissions at the head and tail of the open mic
transmission is intriguing. Maybe not proof, but
very intriguing nonetheless.

He's really still arguing the Acoustic Evidence Theory?

Sebastian was driving car #151, which can be seen in a photograph parked
out in front of the Texas Theatre after Oswald's arrest.

[x]

Post by 19efppp

Post by x
I received a copy of Last Second in Dallas over the
weekend and have been slowly working my way through.
Because I've been interested in the Dictabelt evidence
for some time, I skipped ahead to look at Tink's
chapters on the acoustics. So far, one particular item
stands out: Figure 23-6 "Timelines: Simulcast and Five
Crosstalks."
What stuns me is that Thompson tries to argue that the
two channels should be synchronized on the "Fisher
crosstalk," the data argues anything but. Tink would
have us believe that Channel 2 gains about 90 seconds
on Channel 1 between the putative "I'll check it" and
"Hold everything...", then slowly loses those 90 seconds
by the 12:36 "Attention all units" simulcast. However,
thanks to a stuck microphone, Channel 1 is running
continuously, while Channel two is only intermittently
recording. Give this state of affairs, channel two can
only be losing time against channel one, never gaining.
Thompson's attempt to sync can't work the way that he
wants to believe. Maybe Mike O'Dell has some more insight
into this.
BTW, Does anyone know who Patrolman EG Sabastian was,
and what he did on November 22, 1963. I ask this
because I've been listening to a copy of the dictabelt
recording and noticed an interesting coincidence. The
stuck microphone episode begins exactly at the end of
Sabastian's 12:28 "75 clear" transmission, and ends
abruptly at the end of when Sabastian's "75 code 5"
transmission at 12:34. I figure that microphone
switches don't randomly turn themselves on and off,
but that the open mic began when someone hit the switch
to make a transmission. At the end of the transmission,
either the user inadvertently failed to release the
switch or it stayed stuck stuck in the transmit position
It be liable to stay that way until the offending user
made another transmission and managed to turn the thing
back off. The surprising coincidence of Sabastian's
transmissions at the head and tail of the open mic
transmission is intriguing. Maybe not proof, but
very intriguing nonetheless.

He's really still arguing the Acoustic Evidence Theory?
Sebastian was driving car #151, which can be seen in a photograph parked
out in front of the Texas Theatre after Oswald's arrest.

Yes he is indeed. Old habits die hard, apparently.

If Sebastian is in car #151, that drops some serious
harshing all over me beautiful theory. Whoever had
the open mic has to have been riding a motorcycle.
Maybe officer 75 is someone other than Sebastian,
and the call number was just misattributed two him.
It's a hell of a coincidence that the open mic
section on the Dictabelt both begins and ends with
transmissions from 75.

[19efppp]

Post by x

Post by 19efppp

Post by x
I received a copy of Last Second in Dallas over the
weekend and have been slowly working my way through.
Because I've been interested in the Dictabelt evidence
for some time, I skipped ahead to look at Tink's
chapters on the acoustics. So far, one particular item
stands out: Figure 23-6 "Timelines: Simulcast and Five
Crosstalks."
What stuns me is that Thompson tries to argue that the
two channels should be synchronized on the "Fisher
crosstalk," the data argues anything but. Tink would
have us believe that Channel 2 gains about 90 seconds
on Channel 1 between the putative "I'll check it" and
"Hold everything...", then slowly loses those 90 seconds
by the 12:36 "Attention all units" simulcast. However,
thanks to a stuck microphone, Channel 1 is running
continuously, while Channel two is only intermittently
recording. Give this state of affairs, channel two can
only be losing time against channel one, never gaining.
Thompson's attempt to sync can't work the way that he
wants to believe. Maybe Mike O'Dell has some more insight
into this.
BTW, Does anyone know who Patrolman EG Sabastian was,
and what he did on November 22, 1963. I ask this
because I've been listening to a copy of the dictabelt
recording and noticed an interesting coincidence. The
stuck microphone episode begins exactly at the end of
Sabastian's 12:28 "75 clear" transmission, and ends
abruptly at the end of when Sabastian's "75 code 5"
transmission at 12:34. I figure that microphone
switches don't randomly turn themselves on and off,
but that the open mic began when someone hit the switch
to make a transmission. At the end of the transmission,
either the user inadvertently failed to release the
switch or it stayed stuck stuck in the transmit position
It be liable to stay that way until the offending user
made another transmission and managed to turn the thing
back off. The surprising coincidence of Sabastian's
transmissions at the head and tail of the open mic
transmission is intriguing. Maybe not proof, but
very intriguing nonetheless.

He's really still arguing the Acoustic Evidence Theory?
Sebastian was driving car #151, which can be seen in a photograph parked
out in front of the Texas Theatre after Oswald's arrest.

Yes he is indeed. Old habits die hard, apparently.
If Sebastian is in car #151, that drops some serious
harshing all over me beautiful theory. Whoever had
the open mic has to have been riding a motorcycle.
Maybe officer 75 is someone other than Sebastian,
and the call number was just misattributed two him.
It's a hell of a coincidence that the open mic
section on the Dictabelt both begins and ends with
transmissions from 75.

75 is a patrol car number. 2-wheel motorcycles have their own range of
numbers, in the 100's, something around 140-180, I forget exactly. And
3-wheel motorcycles, have a range in the 200's. 260 is Sgt. Harkness, for
example. The experts say that the interference comes from a 3-wheel
motorcycle. As for 75, I have not entertained him as the source of the
interfering transmission, but anybody could say any number he wanted to,
of course, and who would know? And, any sound we hear, comes through the
microphone, so somebody could be playing a recording of a motorcycle, I
suppose, even if he is in a squad car.

[x]

Post by 19efppp

Post by x

Post by 19efppp

Post by x
I received a copy of Last Second in Dallas over the
weekend and have been slowly working my way through.
Because I've been interested in the Dictabelt evidence
for some time, I skipped ahead to look at Tink's
chapters on the acoustics. So far, one particular item
stands out: Figure 23-6 "Timelines: Simulcast and Five
Crosstalks."
What stuns me is that Thompson tries to argue that the
two channels should be synchronized on the "Fisher
crosstalk," the data argues anything but. Tink would
have us believe that Channel 2 gains about 90 seconds
on Channel 1 between the putative "I'll check it" and
"Hold everything...", then slowly loses those 90 seconds
by the 12:36 "Attention all units" simulcast. However,
thanks to a stuck microphone, Channel 1 is running
continuously, while Channel two is only intermittently
recording. Give this state of affairs, channel two can
only be losing time against channel one, never gaining.
Thompson's attempt to sync can't work the way that he
wants to believe. Maybe Mike O'Dell has some more insight
into this.
BTW, Does anyone know who Patrolman EG Sabastian was,
and what he did on November 22, 1963. I ask this
because I've been listening to a copy of the dictabelt
recording and noticed an interesting coincidence. The
stuck microphone episode begins exactly at the end of
Sabastian's 12:28 "75 clear" transmission, and ends
abruptly at the end of when Sabastian's "75 code 5"
transmission at 12:34. I figure that microphone
switches don't randomly turn themselves on and off,
but that the open mic began when someone hit the switch
to make a transmission. At the end of the transmission,
either the user inadvertently failed to release the
switch or it stayed stuck stuck in the transmit position
It be liable to stay that way until the offending user
made another transmission and managed to turn the thing
back off. The surprising coincidence of Sabastian's
transmissions at the head and tail of the open mic
transmission is intriguing. Maybe not proof, but
very intriguing nonetheless.

He's really still arguing the Acoustic Evidence Theory?
Sebastian was driving car #151, which can be seen in a photograph parked
out in front of the Texas Theatre after Oswald's arrest.

Yes he is indeed. Old habits die hard, apparently.
If Sebastian is in car #151, that drops some serious
harshing all over me beautiful theory. Whoever had
the open mic has to have been riding a motorcycle.
Maybe officer 75 is someone other than Sebastian,
and the call number was just misattributed two him.
It's a hell of a coincidence that the open mic
section on the Dictabelt both begins and ends with
transmissions from 75.

75 is a patrol car number. 2-wheel motorcycles have their own range of
numbers, in the 100's, something around 140-180, I forget exactly. And
3-wheel motorcycles, have a range in the 200's. 260 is Sgt. Harkness, for
example. The experts say that the interference comes from a 3-wheel
motorcycle. As for 75, I have not entertained him as the source of the
interfering transmission, but anybody could say any number he wanted to,
of course, and who would know? And, any sound we hear, comes through the
microphone, so somebody could be playing a recording of a motorcycle, I
suppose, even if he is in a squad car.

Not sure I follow. Tippit was 78, but his car was #10. Are
you saying that the number referred to the vehicle or the
role?

[19efppp]

Post by x

Post by 19efppp

Post by x

Post by 19efppp

Post by x
I received a copy of Last Second in Dallas over the
weekend and have been slowly working my way through.
Because I've been interested in the Dictabelt evidence
for some time, I skipped ahead to look at Tink's
chapters on the acoustics. So far, one particular item
stands out: Figure 23-6 "Timelines: Simulcast and Five
Crosstalks."
What stuns me is that Thompson tries to argue that the
two channels should be synchronized on the "Fisher
crosstalk," the data argues anything but. Tink would
have us believe that Channel 2 gains about 90 seconds
on Channel 1 between the putative "I'll check it" and
"Hold everything...", then slowly loses those 90 seconds
by the 12:36 "Attention all units" simulcast. However,
thanks to a stuck microphone, Channel 1 is running
continuously, while Channel two is only intermittently
recording. Give this state of affairs, channel two can
only be losing time against channel one, never gaining.
Thompson's attempt to sync can't work the way that he
wants to believe. Maybe Mike O'Dell has some more insight
into this.
BTW, Does anyone know who Patrolman EG Sabastian was,
and what he did on November 22, 1963. I ask this
because I've been listening to a copy of the dictabelt
recording and noticed an interesting coincidence. The
stuck microphone episode begins exactly at the end of
Sabastian's 12:28 "75 clear" transmission, and ends
abruptly at the end of when Sabastian's "75 code 5"
transmission at 12:34. I figure that microphone
switches don't randomly turn themselves on and off,
but that the open mic began when someone hit the switch
to make a transmission. At the end of the transmission,
either the user inadvertently failed to release the
switch or it stayed stuck stuck in the transmit position
It be liable to stay that way until the offending user
made another transmission and managed to turn the thing
back off. The surprising coincidence of Sabastian's
transmissions at the head and tail of the open mic
transmission is intriguing. Maybe not proof, but
very intriguing nonetheless.

He's really still arguing the Acoustic Evidence Theory?
Sebastian was driving car #151, which can be seen in a photograph parked
out in front of the Texas Theatre after Oswald's arrest.

Yes he is indeed. Old habits die hard, apparently.
If Sebastian is in car #151, that drops some serious
harshing all over me beautiful theory. Whoever had
the open mic has to have been riding a motorcycle.
Maybe officer 75 is someone other than Sebastian,
and the call number was just misattributed two him.
It's a hell of a coincidence that the open mic
section on the Dictabelt both begins and ends with
transmissions from 75.

75 is a patrol car number. 2-wheel motorcycles have their own range of
numbers, in the 100's, something around 140-180, I forget exactly. And
3-wheel motorcycles, have a range in the 200's. 260 is Sgt. Harkness, for
example. The experts say that the interference comes from a 3-wheel
motorcycle. As for 75, I have not entertained him as the source of the
interfering transmission, but anybody could say any number he wanted to,
of course, and who would know? And, any sound we hear, comes through the
microphone, so somebody could be playing a recording of a motorcycle, I
suppose, even if he is in a squad car.

Not sure I follow. Tippit was 78, but his car was #10. Are
you saying that the number referred to the vehicle or the
role?

When I said "75," I meant Sebastian because that is his call number.
Tippit I would call by his name because everybody knows his name. I know
Sebastian best by his call number, so I tend to call him that. I once
confused his call number with something Clyde Haygood said on the radio,
so to me he will always be "75, and not passerby."

[John Corbett]

On Monday, February 1, 2021 at 9:45:40 PM UTC-5, x wrote:

One can read Amazon's self serving description of the book
here. It is comical.

https://www.amazon.com/Last-Second-Dallas-Josiah-Thompson/dp/0700630082

Post by x
I received a copy of Last Second in Dallas over the
weekend and have been slowly working my way through.
Because I've been interested in the Dictabelt evidence
for some time, I skipped ahead to look at Tink's
chapters on the acoustics. So far, one particular item
stands out: Figure 23-6 "Timelines: Simulcast and Five
Crosstalks."
What stuns me is that Thompson tries to argue that the
two channels should be synchronized on the "Fisher
crosstalk," the data argues anything but. Tink would
have us believe that Channel 2 gains about 90 seconds
on Channel 1 between the putative "I'll check it" and
"Hold everything...", then slowly loses those 90 seconds
by the 12:36 "Attention all units" simulcast. However,
thanks to a stuck microphone, Channel 1 is running
continuously, while Channel two is only intermittently
recording. Give this state of affairs, channel two can
only be losing time against channel one, never gaining.
Thompson's attempt to sync can't work the way that he
wants to believe. Maybe Mike O'Dell has some more insight
into this.
BTW, Does anyone know who Patrolman EG Sabastian was,
and what he did on November 22, 1963. I ask this
because I've been listening to a copy of the dictabelt
recording and noticed an interesting coincidence. The
stuck microphone episode begins exactly at the end of
Sabastian's 12:28 "75 clear" transmission, and ends
abruptly at the end of when Sabastian's "75 code 5"
transmission at 12:34. I figure that microphone
switches don't randomly turn themselves on and off,
but that the open mic began when someone hit the switch
to make a transmission. At the end of the transmission,
either the user inadvertently failed to release the
switch or it stayed stuck stuck in the transmit position
It be liable to stay that way until the offending user
made another transmission and managed to turn the thing
back off. The surprising coincidence of Sabastian's
transmissions at the head and tail of the open mic
transmission is intriguing. Maybe not proof, but
very intriguing nonetheless.

Forgive my ignorance of how the Dictabelt works aren't both channels
recording on the same belt. If that is the case, they should never be out
of sync.

[odellm]

Post by John Corbett
One can read Amazon's self serving description of the book
here. It is comical.
https://www.amazon.com/Last-Second-Dallas-Josiah-Thompson/dp/0700630082

Post by x
I received a copy of Last Second in Dallas over the
weekend and have been slowly working my way through.
Because I've been interested in the Dictabelt evidence
for some time, I skipped ahead to look at Tink's
chapters on the acoustics. So far, one particular item
stands out: Figure 23-6 "Timelines: Simulcast and Five
Crosstalks."
What stuns me is that Thompson tries to argue that the
two channels should be synchronized on the "Fisher
crosstalk," the data argues anything but. Tink would
have us believe that Channel 2 gains about 90 seconds
on Channel 1 between the putative "I'll check it" and
"Hold everything...", then slowly loses those 90 seconds
by the 12:36 "Attention all units" simulcast. However,
thanks to a stuck microphone, Channel 1 is running
continuously, while Channel two is only intermittently
recording. Give this state of affairs, channel two can
only be losing time against channel one, never gaining.
Thompson's attempt to sync can't work the way that he
wants to believe. Maybe Mike O'Dell has some more insight
into this.
BTW, Does anyone know who Patrolman EG Sabastian was,
and what he did on November 22, 1963. I ask this
because I've been listening to a copy of the dictabelt
recording and noticed an interesting coincidence. The
stuck microphone episode begins exactly at the end of
Sabastian's 12:28 "75 clear" transmission, and ends
abruptly at the end of when Sabastian's "75 code 5"
transmission at 12:34. I figure that microphone
switches don't randomly turn themselves on and off,
but that the open mic began when someone hit the switch
to make a transmission. At the end of the transmission,
either the user inadvertently failed to release the
switch or it stayed stuck stuck in the transmit position
It be liable to stay that way until the offending user
made another transmission and managed to turn the thing
back off. The surprising coincidence of Sabastian's
transmissions at the head and tail of the open mic
transmission is intriguing. Maybe not proof, but
very intriguing nonetheless.

Forgive my ignorance of how the Dictabelt works aren't both channels
recording on the same belt. If that is the case, they should never be out
of sync.

The machine only has one recording head, it can't record from two sources
simultaneously. Each channel had it's own recorder. They were different
kinds of machines. Channel 1 was recorded on a dictabelt and channel 2
was recorded on an Audograph disc. Both machines were set up to run
intermittently, stopping when there was no broadcast. They aren't
continuous recordings and each had different traffic, so synching the two
up is an issue. Crosstalks are events that happen on both channels and
you can say each of those happened at the same time, but if you pick one
to sync on, earlier and later crosstalks won't line up because of the
intermittent recording. That is true regardless of which crosstalk you
choose to line up with.

Michael

[John Corbett]

Post by odellm

Post by John Corbett
One can read Amazon's self serving description of the book
here. It is comical.
https://www.amazon.com/Last-Second-Dallas-Josiah-Thompson/dp/0700630082

Post by x
I received a copy of Last Second in Dallas over the
weekend and have been slowly working my way through.
Because I've been interested in the Dictabelt evidence
for some time, I skipped ahead to look at Tink's
chapters on the acoustics. So far, one particular item
stands out: Figure 23-6 "Timelines: Simulcast and Five
Crosstalks."
What stuns me is that Thompson tries to argue that the
two channels should be synchronized on the "Fisher
crosstalk," the data argues anything but. Tink would
have us believe that Channel 2 gains about 90 seconds
on Channel 1 between the putative "I'll check it" and
"Hold everything...", then slowly loses those 90 seconds
by the 12:36 "Attention all units" simulcast. However,
thanks to a stuck microphone, Channel 1 is running
continuously, while Channel two is only intermittently
recording. Give this state of affairs, channel two can
only be losing time against channel one, never gaining.
Thompson's attempt to sync can't work the way that he
wants to believe. Maybe Mike O'Dell has some more insight
into this.
BTW, Does anyone know who Patrolman EG Sabastian was,
and what he did on November 22, 1963. I ask this
because I've been listening to a copy of the dictabelt
recording and noticed an interesting coincidence. The
stuck microphone episode begins exactly at the end of
Sabastian's 12:28 "75 clear" transmission, and ends
abruptly at the end of when Sabastian's "75 code 5"
transmission at 12:34. I figure that microphone
switches don't randomly turn themselves on and off,
but that the open mic began when someone hit the switch
to make a transmission. At the end of the transmission,
either the user inadvertently failed to release the
switch or it stayed stuck stuck in the transmit position
It be liable to stay that way until the offending user
made another transmission and managed to turn the thing
back off. The surprising coincidence of Sabastian's
transmissions at the head and tail of the open mic
transmission is intriguing. Maybe not proof, but
very intriguing nonetheless.

Forgive my ignorance of how the Dictabelt works aren't both channels
recording on the same belt. If that is the case, they should never be out
of sync.

The machine only has one recording head, it can't record from two sources
simultaneously. Each channel had it's own recorder. They were different
kinds of machines. Channel 1 was recorded on a dictabelt and channel 2
was recorded on an Audograph disc. Both machines were set up to run
intermittently, stopping when there was no broadcast. They aren't
continuous recordings and each had different traffic, so synching the two
up is an issue. Crosstalks are events that happen on both channels and
you can say each of those happened at the same time, but if you pick one
to sync on, earlier and later crosstalks won't line up because of the
intermittent recording. That is true regardless of which crosstalk you
choose to line up with.

So if I am understanding you, it is only when there is crosstalk that we
know an event recorded on the Dictabelt is synced with what is was
recorded on the Audiograph.

[odellm]

Post by John Corbett

Post by odellm

Post by John Corbett
One can read Amazon's self serving description of the book
here. It is comical.
https://www.amazon.com/Last-Second-Dallas-Josiah-Thompson/dp/0700630082

Post by x
I received a copy of Last Second in Dallas over the
weekend and have been slowly working my way through.
Because I've been interested in the Dictabelt evidence
for some time, I skipped ahead to look at Tink's
chapters on the acoustics. So far, one particular item
stands out: Figure 23-6 "Timelines: Simulcast and Five
Crosstalks."
What stuns me is that Thompson tries to argue that the
two channels should be synchronized on the "Fisher
crosstalk," the data argues anything but. Tink would
have us believe that Channel 2 gains about 90 seconds
on Channel 1 between the putative "I'll check it" and
"Hold everything...", then slowly loses those 90 seconds
by the 12:36 "Attention all units" simulcast. However,
thanks to a stuck microphone, Channel 1 is running
continuously, while Channel two is only intermittently
recording. Give this state of affairs, channel two can
only be losing time against channel one, never gaining.
Thompson's attempt to sync can't work the way that he
wants to believe. Maybe Mike O'Dell has some more insight
into this.
BTW, Does anyone know who Patrolman EG Sabastian was,
and what he did on November 22, 1963. I ask this
because I've been listening to a copy of the dictabelt
recording and noticed an interesting coincidence. The
stuck microphone episode begins exactly at the end of
Sabastian's 12:28 "75 clear" transmission, and ends
abruptly at the end of when Sabastian's "75 code 5"
transmission at 12:34. I figure that microphone
switches don't randomly turn themselves on and off,
but that the open mic began when someone hit the switch
to make a transmission. At the end of the transmission,
either the user inadvertently failed to release the
switch or it stayed stuck stuck in the transmit position
It be liable to stay that way until the offending user
made another transmission and managed to turn the thing
back off. The surprising coincidence of Sabastian's
transmissions at the head and tail of the open mic
transmission is intriguing. Maybe not proof, but
very intriguing nonetheless.

Forgive my ignorance of how the Dictabelt works aren't both channels
recording on the same belt. If that is the case, they should never be out
of sync.

The machine only has one recording head, it can't record from two sources
simultaneously. Each channel had it's own recorder. They were different
kinds of machines. Channel 1 was recorded on a dictabelt and channel 2
was recorded on an Audograph disc. Both machines were set up to run
intermittently, stopping when there was no broadcast. They aren't
continuous recordings and each had different traffic, so synching the two
up is an issue. Crosstalks are events that happen on both channels and
you can say each of those happened at the same time, but if you pick one
to sync on, earlier and later crosstalks won't line up because of the
intermittent recording. That is true regardless of which crosstalk you
choose to line up with.

So if I am understanding you, it is only when there is crosstalk that we
know an event recorded on the Dictabelt is synced with what is was
recorded on the Audiograph.

Crosstalks aren't the only such things but that's the idea, yes. There
are also a couple of simulcasts where the dispatcher made a broadcast on
both channels at the same time.

Michael

[Steve M. Galbraith]

Post by John Corbett
One can read Amazon's self serving description of the book
here. It is comical.
https://www.amazon.com/Last-Second-Dallas-Josiah-Thompson/dp/0700630082

Post by x
I received a copy of Last Second in Dallas over the
weekend and have been slowly working my way through.
Because I've been interested in the Dictabelt evidence
for some time, I skipped ahead to look at Tink's
chapters on the acoustics. So far, one particular item
stands out: Figure 23-6 "Timelines: Simulcast and Five
Crosstalks."
What stuns me is that Thompson tries to argue that the
two channels should be synchronized on the "Fisher
crosstalk," the data argues anything but. Tink would
have us believe that Channel 2 gains about 90 seconds
on Channel 1 between the putative "I'll check it" and
"Hold everything...", then slowly loses those 90 seconds
by the 12:36 "Attention all units" simulcast. However,
thanks to a stuck microphone, Channel 1 is running
continuously, while Channel two is only intermittently
recording. Give this state of affairs, channel two can
only be losing time against channel one, never gaining.
Thompson's attempt to sync can't work the way that he
wants to believe. Maybe Mike O'Dell has some more insight
into this.
BTW, Does anyone know who Patrolman EG Sabastian was,
and what he did on November 22, 1963. I ask this
because I've been listening to a copy of the dictabelt
recording and noticed an interesting coincidence. The
stuck microphone episode begins exactly at the end of
Sabastian's 12:28 "75 clear" transmission, and ends
abruptly at the end of when Sabastian's "75 code 5"
transmission at 12:34. I figure that microphone
switches don't randomly turn themselves on and off,
but that the open mic began when someone hit the switch
to make a transmission. At the end of the transmission,
either the user inadvertently failed to release the
switch or it stayed stuck stuck in the transmit position
It be liable to stay that way until the offending user
made another transmission and managed to turn the thing
back off. The surprising coincidence of Sabastian's
transmissions at the head and tail of the open mic
transmission is intriguing. Maybe not proof, but
very intriguing nonetheless.

Forgive my ignorance of how the Dictabelt works aren't both channels
recording on the same belt. If that is the case, they should never be out
of sync.

No, there were two different/separate dictabelt machines. One recorded
Channel 1 communications - that was the channel used for normal/routine
police communications; a second machine recorded Channel 2 communications
- this channel was used for special events. These two separate
recordings/dictabelts are the cause/source of the dispute over the timing
and exactly when these "sounds" or "impulses" were actually recorded on
Channel 1.

James Bowles, the DPD communications officer at the time explains it.
"Channel 1 was recorded on a Dictaphone A2TC, Model 5, belt or loop
recorder. Channel 2 was recorded on a Gray "Audograph" flat disk recorder.
Both were duplex units with one recording and one on standby for when the
other unit contained a full recording. Both units were sound activated. It
is important to note "sound" rather than "voice" because either sound or
noise from any source, received through the transmission line, would
activate the recorders. Once activated, the recorders remained "on" for
the duration of the activating sound plus 4 seconds. The four second delay
permitted brief pauses or answers to questions without the relay mechanism
being overworked. On occasion, the recorders would operate almost
continuously because rapid radio traffic kept them operating. On November
22, 1963, the Channel 1 recorders became, for practical purposes,
continuous recorders for just over five minutes starting at approximately
12:29 pm (Channel 1 time) because the microphone on a police motorcycle
stuck in the "on" position. The resulting continuous transmission kept the
Channel 1 recorders operating for just over five minutes thus giving us a
real-time recording for that period. The only problem was determining a
basis for an accurate time reference during that period."

[x]

Post by John Corbett
One can read Amazon's self serving description of the book
here. It is comical.
https://www.amazon.com/Last-Second-Dallas-Josiah-Thompson/dp/0700630082

Post by x
I received a copy of Last Second in Dallas over the
weekend and have been slowly working my way through.
Because I've been interested in the Dictabelt evidence
for some time, I skipped ahead to look at Tink's
chapters on the acoustics. So far, one particular item
stands out: Figure 23-6 "Timelines: Simulcast and Five
Crosstalks."
What stuns me is that Thompson tries to argue that the
two channels should be synchronized on the "Fisher
crosstalk," the data argues anything but. Tink would
have us believe that Channel 2 gains about 90 seconds
on Channel 1 between the putative "I'll check it" and
"Hold everything...", then slowly loses those 90 seconds
by the 12:36 "Attention all units" simulcast. However,
thanks to a stuck microphone, Channel 1 is running
continuously, while Channel two is only intermittently
recording. Give this state of affairs, channel two can
only be losing time against channel one, never gaining.
Thompson's attempt to sync can't work the way that he
wants to believe. Maybe Mike O'Dell has some more insight
into this.
BTW, Does anyone know who Patrolman EG Sabastian was,
and what he did on November 22, 1963. I ask this
because I've been listening to a copy of the dictabelt
recording and noticed an interesting coincidence. The
stuck microphone episode begins exactly at the end of
Sabastian's 12:28 "75 clear" transmission, and ends
abruptly at the end of when Sabastian's "75 code 5"
transmission at 12:34. I figure that microphone
switches don't randomly turn themselves on and off,
but that the open mic began when someone hit the switch
to make a transmission. At the end of the transmission,
either the user inadvertently failed to release the
switch or it stayed stuck stuck in the transmit position
It be liable to stay that way until the offending user
made another transmission and managed to turn the thing
back off. The surprising coincidence of Sabastian's
transmissions at the head and tail of the open mic
transmission is intriguing. Maybe not proof, but
very intriguing nonetheless.

Forgive my ignorance of how the Dictabelt works aren't both channels
recording on the same belt. If that is the case, they should never be out
of sync.

Didn't work that way. Channel one was recorded on one of
two Dictabelt machines. Channel two was sent to one of
two Gray Audiograph spinning-platter recorders. There
were two of each recording system to allow for continuous
recording when a belt or disc, respectively, ran out and
had to be replaced with new media.

Each recording system only recorded when there was a
transmission on the radio channel it was linked to. No
point in wasting all that vinyl to record silence.

[odellm]

Post by x
I received a copy of Last Second in Dallas over the
weekend and have been slowly working my way through.
Because I've been interested in the Dictabelt evidence
for some time, I skipped ahead to look at Tink's
chapters on the acoustics. So far, one particular item
stands out: Figure 23-6 "Timelines: Simulcast and Five
Crosstalks."
What stuns me is that Thompson tries to argue that the
two channels should be synchronized on the "Fisher
crosstalk," the data argues anything but. Tink would
have us believe that Channel 2 gains about 90 seconds
on Channel 1 between the putative "I'll check it" and
"Hold everything...", then slowly loses those 90 seconds
by the 12:36 "Attention all units" simulcast. However,
thanks to a stuck microphone, Channel 1 is running
continuously, while Channel two is only intermittently
recording. Give this state of affairs, channel two can
only be losing time against channel one, never gaining.
Thompson's attempt to sync can't work the way that he
wants to believe. Maybe Mike O'Dell has some more insight
into this.

You are correct. The data does not support that scenario and it would
require the dictabelt to have negative time. His way out of that problem
is to imagine that some of the crosstalks are at the wrong place on the
recording. There is no evidence or mechanism for such a thing other than
the fact he needs it to be true for CHECK to be valid.

Michael

[x]

Post by odellm

Post by x
I received a copy of Last Second in Dallas over the
weekend and have been slowly working my way through.
Because I've been interested in the Dictabelt evidence
for some time, I skipped ahead to look at Tink's
chapters on the acoustics. So far, one particular item
stands out: Figure 23-6 "Timelines: Simulcast and Five
Crosstalks."
What stuns me is that Thompson tries to argue that the
two channels should be synchronized on the "Fisher
crosstalk," the data argues anything but. Tink would
have us believe that Channel 2 gains about 90 seconds
on Channel 1 between the putative "I'll check it" and
"Hold everything...", then slowly loses those 90 seconds
by the 12:36 "Attention all units" simulcast. However,
thanks to a stuck microphone, Channel 1 is running
continuously, while Channel two is only intermittently
recording. Give this state of affairs, channel two can
only be losing time against channel one, never gaining.
Thompson's attempt to sync can't work the way that he
wants to believe. Maybe Mike O'Dell has some more insight
into this.

You are correct. The data does not support that scenario and it would
require the dictabelt to have negative time. His way out of that problem
is to imagine that some of the crosstalks are at the wrong place on the
recording. There is no evidence or mechanism for such a thing other than
the fact he needs it to be true for CHECK to be valid.

He pushes Mullen's determination that there are three sets
of power-supply hums, indicating that the existing Bowles
tape is a copy of a copy of the original recording. I
suspect that he wants to think that the issue is resolved
by appealing to some mistake in copying. I don't see that
as a good explanation: "I'll check it" is the odd man out,
time wise, and would be the obvious candidate for being
the mistake, not "hold everything..."

[odellm]

Post by x

Post by x
I received a copy of Last Second in Dallas over the
weekend and have been slowly working my way through.
Because I've been interested in the Dictabelt evidence
for some time, I skipped ahead to look at Tink's
chapters on the acoustics. So far, one particular item
stands out: Figure 23-6 "Timelines: Simulcast and Five
Crosstalks."
What stuns me is that Thompson tries to argue that the
two channels should be synchronized on the "Fisher
crosstalk," the data argues anything but. Tink would
have us believe that Channel 2 gains about 90 seconds
on Channel 1 between the putative "I'll check it" and
"Hold everything...", then slowly loses those 90 seconds
by the 12:36 "Attention all units" simulcast. However,
thanks to a stuck microphone, Channel 1 is running
continuously, while Channel two is only intermittently
recording. Give this state of affairs, channel two can
only be losing time against channel one, never gaining.
Thompson's attempt to sync can't work the way that he
wants to believe. Maybe Mike O'Dell has some more insight
into this.

You are correct. The data does not support that scenario and it would
require the dictabelt to have negative time. His way out of that problem
is to imagine that some of the crosstalks are at the wrong place on the
recording. There is no evidence or mechanism for such a thing other than
the fact he needs it to be true for CHECK to be valid.

He pushes Mullen's determination that there are three sets
of power-supply hums, indicating that the existing Bowles
tape is a copy of a copy of the original recording. I
suspect that he wants to think that the issue is resolved
by appealing to some mistake in copying. I don't see that
as a good explanation: "I'll check it" is the odd man out,
time wise, and would be the obvious candidate for being
the mistake, not "hold everything..."

Again, correct. Mullen found multiple hums on a multi-generational tape
copy of the disc. Not exactly a surprising find. More importantly, a
clean tape copy from the actual disc shows no such hums, and the same
crosstalk events, so we know the extra tape copy hums don't matter to
anything. They chose to use the tape copy and present those findings
despite knowing this.

CHECK is indeed the odd man out. If you perform all the same timing
analyses but leave out CHECK, everything comes out fine. Adding CHECK
breaks things. But they insisted on holding CHECK as inviolable and then
claiming it's everything else that is wrong when it breaks.

Michael

[19efppp]

Post by x

Post by x
I received a copy of Last Second in Dallas over the
weekend and have been slowly working my way through.
Because I've been interested in the Dictabelt evidence
for some time, I skipped ahead to look at Tink's
chapters on the acoustics. So far, one particular item
stands out: Figure 23-6 "Timelines: Simulcast and Five
Crosstalks."
What stuns me is that Thompson tries to argue that the
two channels should be synchronized on the "Fisher
crosstalk," the data argues anything but. Tink would
have us believe that Channel 2 gains about 90 seconds
on Channel 1 between the putative "I'll check it" and
"Hold everything...", then slowly loses those 90 seconds
by the 12:36 "Attention all units" simulcast. However,
thanks to a stuck microphone, Channel 1 is running
continuously, while Channel two is only intermittently
recording. Give this state of affairs, channel two can
only be losing time against channel one, never gaining.
Thompson's attempt to sync can't work the way that he
wants to believe. Maybe Mike O'Dell has some more insight
into this.

You are correct. The data does not support that scenario and it would
require the dictabelt to have negative time. His way out of that problem
is to imagine that some of the crosstalks are at the wrong place on the
recording. There is no evidence or mechanism for such a thing other than
the fact he needs it to be true for CHECK to be valid.

He pushes Mullen's determination that there are three sets
of power-supply hums, indicating that the existing Bowles
tape is a copy of a copy of the original recording. I
suspect that he wants to think that the issue is resolved
by appealing to some mistake in copying. I don't see that
as a good explanation: "I'll check it" is the odd man out,
time wise, and would be the obvious candidate for being
the mistake, not "hold everything..."

"I'll check it" is actually, " Five-seven."

[Steve Barber]

Post by 19efppp

Post by x

Post by x
I received a copy of Last Second in Dallas over the
weekend and have been slowly working my way through.
Because I've been interested in the Dictabelt evidence
for some time, I skipped ahead to look at Tink's
chapters on the acoustics. So far, one particular item
stands out: Figure 23-6 "Timelines: Simulcast and Five
Crosstalks."
What stuns me is that Thompson tries to argue that the
two channels should be synchronized on the "Fisher
crosstalk," the data argues anything but. Tink would
have us believe that Channel 2 gains about 90 seconds
on Channel 1 between the putative "I'll check it" and
"Hold everything...", then slowly loses those 90 seconds
by the 12:36 "Attention all units" simulcast. However,
thanks to a stuck microphone, Channel 1 is running
continuously, while Channel two is only intermittently
recording. Give this state of affairs, channel two can
only be losing time against channel one, never gaining.
Thompson's attempt to sync can't work the way that he
wants to believe. Maybe Mike O'Dell has some more insight
into this.

You are correct. The data does not support that scenario and it would
require the dictabelt to have negative time. His way out of that problem
is to imagine that some of the crosstalks are at the wrong place on the
recording. There is no evidence or mechanism for such a thing other than
the fact he needs it to be true for CHECK to be valid.

He pushes Mullen's determination that there are three sets
of power-supply hums, indicating that the existing Bowles
tape is a copy of a copy of the original recording. I
suspect that he wants to think that the issue is resolved
by appealing to some mistake in copying. I don't see that
as a good explanation: "I'll check it" is the odd man out,
time wise, and would be the obvious candidate for being
the mistake, not "hold everything..."

"I'll check it" is actually, " Five-seven."

Please read: There is no "I'll check it" on channel 1, and "Five
seven" is a completely different channel 2 transmission.

There are heterodyne tones accompanying what Thomas and Bowles claim
is " I'll check it", or what yopu claim is "Five seven". This alone
proves that what some claim is "crosstalk" from channel 2, is not
crosstalk at all, nor are the words spoken, " "I'll check it". As you see
in my article, there are two words accompanying what some claim is "I'll
check it". The full transmission is " That's alright, I'll check it".
And well...just please read my piece here:
https://jfkfiles.blogspot.com/2007/07/of-crosstalk-and-bells-rebuttal-to-don.html

[19efppp]

Post by 19efppp

Post by x

Post by x
I received a copy of Last Second in Dallas over the
weekend and have been slowly working my way through.
Because I've been interested in the Dictabelt evidence
for some time, I skipped ahead to look at Tink's
chapters on the acoustics. So far, one particular item
stands out: Figure 23-6 "Timelines: Simulcast and Five
Crosstalks."
What stuns me is that Thompson tries to argue that the
two channels should be synchronized on the "Fisher
crosstalk," the data argues anything but. Tink would
have us believe that Channel 2 gains about 90 seconds
on Channel 1 between the putative "I'll check it" and
"Hold everything...", then slowly loses those 90 seconds
by the 12:36 "Attention all units" simulcast. However,
thanks to a stuck microphone, Channel 1 is running
continuously, while Channel two is only intermittently
recording. Give this state of affairs, channel two can
only be losing time against channel one, never gaining.
Thompson's attempt to sync can't work the way that he
wants to believe. Maybe Mike O'Dell has some more insight
into this.

You are correct. The data does not support that scenario and it would
require the dictabelt to have negative time. His way out of that problem
is to imagine that some of the crosstalks are at the wrong place on the
recording. There is no evidence or mechanism for such a thing other than
the fact he needs it to be true for CHECK to be valid.

He pushes Mullen's determination that there are three sets
of power-supply hums, indicating that the existing Bowles
tape is a copy of a copy of the original recording. I
suspect that he wants to think that the issue is resolved
by appealing to some mistake in copying. I don't see that
as a good explanation: "I'll check it" is the odd man out,
time wise, and would be the obvious candidate for being
the mistake, not "hold everything..."

"I'll check it" is actually, " Five-seven."

Please read: There is no "I'll check it" on channel 1, and "Five
seven" is a completely different channel 2 transmission.
There are heterodyne tones accompanying what Thomas and Bowles claim
is " I'll check it", or what yopu claim is "Five seven". This alone
proves that what some claim is "crosstalk" from channel 2, is not
crosstalk at all, nor are the words spoken, " "I'll check it". As you see
in my article, there are two words accompanying what some claim is "I'll
check it". The full transmission is " That's alright, I'll check it".
https://jfkfiles.blogspot.com/2007/07/of-crosstalk-and-bells-rebuttal-to-don.html

And please do post that long version recording of channel 2. When you get
a chance. You know the one.

[Steve Barber]

Post by 19efppp

Post by 19efppp

Post by x

Post by x
I received a copy of Last Second in Dallas over the
weekend and have been slowly working my way through.
Because I've been interested in the Dictabelt evidence
for some time, I skipped ahead to look at Tink's
chapters on the acoustics. So far, one particular item
stands out: Figure 23-6 "Timelines: Simulcast and Five
Crosstalks."
What stuns me is that Thompson tries to argue that the
two channels should be synchronized on the "Fisher
crosstalk," the data argues anything but. Tink would
have us believe that Channel 2 gains about 90 seconds
on Channel 1 between the putative "I'll check it" and
"Hold everything...", then slowly loses those 90 seconds
by the 12:36 "Attention all units" simulcast. However,
thanks to a stuck microphone, Channel 1 is running
continuously, while Channel two is only intermittently
recording. Give this state of affairs, channel two can
only be losing time against channel one, never gaining.
Thompson's attempt to sync can't work the way that he
wants to believe. Maybe Mike O'Dell has some more insight
into this.

You are correct. The data does not support that scenario and it would
require the dictabelt to have negative time. His way out of that problem
is to imagine that some of the crosstalks are at the wrong place on the
recording. There is no evidence or mechanism for such a thing other than
the fact he needs it to be true for CHECK to be valid.

He pushes Mullen's determination that there are three sets
of power-supply hums, indicating that the existing Bowles
tape is a copy of a copy of the original recording. I
suspect that he wants to think that the issue is resolved
by appealing to some mistake in copying. I don't see that
as a good explanation: "I'll check it" is the odd man out,
time wise, and would be the obvious candidate for being
the mistake, not "hold everything..."

"I'll check it" is actually, " Five-seven."

Please read: There is no "I'll check it" on channel 1, and "Five
seven" is a completely different channel 2 transmission.
There are heterodyne tones accompanying what Thomas and Bowles claim
is " I'll check it", or what yopu claim is "Five seven". This alone
proves that what some claim is "crosstalk" from channel 2, is not
crosstalk at all, nor are the words spoken, " "I'll check it". As you see
in my article, there are two words accompanying what some claim is "I'll
check it". The full transmission is " That's alright, I'll check it".
https://jfkfiles.blogspot.com/2007/07/of-crosstalk-and-bells-rebuttal-to-don.html

And please do post that long version recording of channel 2. When you get
a chance. You know the one.

I don't need--or plan to- post ANY version of Ch. 2. What I write in
both Buglisoi's book and on Dale's website speak for themselves.

[Steve Barber]

Post by 19efppp

Post by 19efppp

Post by x

Post by x
I received a copy of Last Second in Dallas over the
weekend and have been slowly working my way through.
Because I've been interested in the Dictabelt evidence
for some time, I skipped ahead to look at Tink's
chapters on the acoustics. So far, one particular item
stands out: Figure 23-6 "Timelines: Simulcast and Five
Crosstalks."
What stuns me is that Thompson tries to argue that the
two channels should be synchronized on the "Fisher
crosstalk," the data argues anything but. Tink would
have us believe that Channel 2 gains about 90 seconds
on Channel 1 between the putative "I'll check it" and
"Hold everything...", then slowly loses those 90 seconds
by the 12:36 "Attention all units" simulcast. However,
thanks to a stuck microphone, Channel 1 is running
continuously, while Channel two is only intermittently
recording. Give this state of affairs, channel two can
only be losing time against channel one, never gaining.
Thompson's attempt to sync can't work the way that he
wants to believe. Maybe Mike O'Dell has some more insight
into this.

You are correct. The data does not support that scenario and it would
require the dictabelt to have negative time. His way out of that problem
is to imagine that some of the crosstalks are at the wrong place on the
recording. There is no evidence or mechanism for such a thing other than
the fact he needs it to be true for CHECK to be valid.

He pushes Mullen's determination that there are three sets
of power-supply hums, indicating that the existing Bowles
tape is a copy of a copy of the original recording. I
suspect that he wants to think that the issue is resolved
by appealing to some mistake in copying. I don't see that
as a good explanation: "I'll check it" is the odd man out,
time wise, and would be the obvious candidate for being
the mistake, not "hold everything..."

"I'll check it" is actually, " Five-seven."

Please read: There is no "I'll check it" on channel 1, and "Five
seven" is a completely different channel 2 transmission.
There are heterodyne tones accompanying what Thomas and Bowles claim
is " I'll check it", or what yopu claim is "Five seven". This alone
proves that what some claim is "crosstalk" from channel 2, is not
crosstalk at all, nor are the words spoken, " "I'll check it". As you see
in my article, there are two words accompanying what some claim is "I'll
check it". The full transmission is " That's alright, I'll check it".
https://jfkfiles.blogspot.com/2007/07/of-crosstalk-and-bells-rebuttal-to-don.html

And please do post that long version recording of channel 2. When you get
a chance. You know the one.

"Hold Everything"! (I've always wanted to say that! :) My error. I
misread your post.

Actually, In sinserety and honesty, I can't remember which channel 2
recording you refer to. Are you speaking of the one that doesn't contain
skipping and repeating which Dick Gariwn (IBM) sent to methat I refer to
in the "Memoir" on .John's website? As we age, memopry is effected, and I
truly need mine refreshed if you would? Thanks.

[19efppp]

Post by 19efppp

Post by 19efppp

Post by x

Post by x
I received a copy of Last Second in Dallas over the
weekend and have been slowly working my way through.
Because I've been interested in the Dictabelt evidence
for some time, I skipped ahead to look at Tink's
chapters on the acoustics. So far, one particular item
stands out: Figure 23-6 "Timelines: Simulcast and Five
Crosstalks."
What stuns me is that Thompson tries to argue that the
two channels should be synchronized on the "Fisher
crosstalk," the data argues anything but. Tink would
have us believe that Channel 2 gains about 90 seconds
on Channel 1 between the putative "I'll check it" and
"Hold everything...", then slowly loses those 90 seconds
by the 12:36 "Attention all units" simulcast. However,
thanks to a stuck microphone, Channel 1 is running
continuously, while Channel two is only intermittently
recording. Give this state of affairs, channel two can
only be losing time against channel one, never gaining.
Thompson's attempt to sync can't work the way that he
wants to believe. Maybe Mike O'Dell has some more insight
into this.

You are correct. The data does not support that scenario and it would
require the dictabelt to have negative time. His way out of that problem
is to imagine that some of the crosstalks are at the wrong place on the
recording. There is no evidence or mechanism for such a thing other than
the fact he needs it to be true for CHECK to be valid.

He pushes Mullen's determination that there are three sets
of power-supply hums, indicating that the existing Bowles
tape is a copy of a copy of the original recording. I
suspect that he wants to think that the issue is resolved
by appealing to some mistake in copying. I don't see that
as a good explanation: "I'll check it" is the odd man out,
time wise, and would be the obvious candidate for being
the mistake, not "hold everything..."

"I'll check it" is actually, " Five-seven."

Please read: There is no "I'll check it" on channel 1, and "Five
seven" is a completely different channel 2 transmission.
There are heterodyne tones accompanying what Thomas and Bowles claim
is " I'll check it", or what yopu claim is "Five seven". This alone
proves that what some claim is "crosstalk" from channel 2, is not
crosstalk at all, nor are the words spoken, " "I'll check it". As you see
in my article, there are two words accompanying what some claim is "I'll
check it". The full transmission is " That's alright, I'll check it".
https://jfkfiles.blogspot.com/2007/07/of-crosstalk-and-bells-rebuttal-to-don.html

And please do post that long version recording of channel 2. When you get
a chance. You know the one.

"Hold Everything"! (I've always wanted to say that! :) My error. I
misread your post.
Actually, In sinserety and honesty, I can't remember which channel 2
recording you refer to. Are you speaking of the one that doesn't contain
skipping and repeating which Dick Gariwn (IBM) sent to methat I refer to
in the "Memoir" on .John's website? As we age, memopry is effected, and I
truly need mine refreshed if you would? Thanks.

Well, I'm, not too sure what I was referring to, either. Never mind.

[19efppp]

Post by 19efppp

Post by x

Post by x
I received a copy of Last Second in Dallas over the
weekend and have been slowly working my way through.
Because I've been interested in the Dictabelt evidence
for some time, I skipped ahead to look at Tink's
chapters on the acoustics. So far, one particular item
stands out: Figure 23-6 "Timelines: Simulcast and Five
Crosstalks."
What stuns me is that Thompson tries to argue that the
two channels should be synchronized on the "Fisher
crosstalk," the data argues anything but. Tink would
have us believe that Channel 2 gains about 90 seconds
on Channel 1 between the putative "I'll check it" and
"Hold everything...", then slowly loses those 90 seconds
by the 12:36 "Attention all units" simulcast. However,
thanks to a stuck microphone, Channel 1 is running
continuously, while Channel two is only intermittently
recording. Give this state of affairs, channel two can
only be losing time against channel one, never gaining.
Thompson's attempt to sync can't work the way that he
wants to believe. Maybe Mike O'Dell has some more insight
into this.

You are correct. The data does not support that scenario and it would
require the dictabelt to have negative time. His way out of that problem
is to imagine that some of the crosstalks are at the wrong place on the
recording. There is no evidence or mechanism for such a thing other than
the fact he needs it to be true for CHECK to be valid.

He pushes Mullen's determination that there are three sets
of power-supply hums, indicating that the existing Bowles
tape is a copy of a copy of the original recording. I
suspect that he wants to think that the issue is resolved
by appealing to some mistake in copying. I don't see that
as a good explanation: "I'll check it" is the odd man out,
time wise, and would be the obvious candidate for being
the mistake, not "hold everything..."

"I'll check it" is actually, " Five-seven."

Please read: There is no "I'll check it" on channel 1, and "Five
seven" is a completely different channel 2 transmission.
There are heterodyne tones accompanying what Thomas and Bowles claim
is " I'll check it", or what yopu claim is "Five seven". This alone
proves that what some claim is "crosstalk" from channel 2, is not
crosstalk at all, nor are the words spoken, " "I'll check it". As you see
in my article, there are two words accompanying what some claim is "I'll
check it". The full transmission is " That's alright, I'll check it".
https://jfkfiles.blogspot.com/2007/07/of-crosstalk-and-bells-rebuttal-to-don.html

I agree that this example is not crosstalk, but could not a heterodyne
event on one channel be carried over to another as crosstalk, bringing the
heterodyne sound with it? Of course it could, because the crosstalk is
just whatever is on one channel picked up by the mic transmitting on
another. So, I don't see why the heterodyne proves the case. This very
"Five-Seven," olr whatever, could have been captured by an open mic on
channel two and have appeared as crosstalk with the heterodyne included,
it seems to me. If you see what I mean.